Good comments about orchestra vs piano so far. Here is another factor, beyond temperment. Imagine attempting to tune a unison where the inharmonic readings of 3 stings are normal, but a forth unison sting to be tuned has its partials inharmicity read 0,0,-1,0,0,1,0,1. Such is the reading by tunelab of the partials of my clarinet, an almost perfect harmonic series. This is because Wind instrument vibrate a column of air, without inertia comparable with stiff metal. This offers credibility why my clarinet teacher, principle of our National Orchestra in Canada describes performing an arrangement of clarinet with any piano in any condition as a "mismatch of instruments." He finds it a difficult blend of sound and would much rather perform with stings, or other winds. The inharmicity of piano is exaggerated by the thickness of the strings. The measurements I have made on a harpsichord are very low, and I assume violins would also be quite low. This differential of inharmicity, in my view, contributes to every orchestras struggle with pianos. Merry Christmas > Orchestra's have a pretty flexible intonation, > they really don't have a > temperament. Notes' pitches change with the keys. > Whatever they are playing, > it sure isn't ET. Pianists are another matter, > altogether. > Perhaps an ET piano is closest to the midpoint > of whatever tolerances > the other instruments maintain, but I don't think it > is essential. At times, > a well-tempered piano has been regarded as more > focussed in a concerto > performance. The slight divergences from the > theoretical ET in a WT are less > than most instruments' vibrato, so no large stretch > is required of a string > player to play "in key" with an unequally tempered > piano. We had great > success using a Young for Beethoven's 3rd. The > pianist seemed to have an > easier time staying "on top" of the wall of sound > behind her. > Regards, > > Ed Foote RPT ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca
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